The Secret to Creating Sick Bebop Lines
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- Опубліковано 20 сер 2015
- The Jeff Schneider Approach Note Guide with over twenty examples of how to create the hippest sounding bebop lines is now available as a digital download at bit.ly/2bsMkey
Gear (but does it really matter?):
Reeds - amzn.to/2byJByQ
Ligature - amzn.to/2b1uYll
Mouthpiece - bit.ly/2acqB6Z
Saxophone - Selmer Mark VI SN: 111XXX - bit.ly/29W1Srz
EWI - amzn.to/2b1EKXj
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Hair (the most important gear of all): Bb Texture by Bumble and Bumble - amzn.to/2byJROm
To book Skype lessons, please email me at JeffSchneiderMusic@gmail.com.
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www.JeffSchneiderMusic.com
also called "enclosures"
+Grant Izmirlian True!
Hey Jeff. I am an aspiring Jazz Guitar player, and Love these lessons. I have been working on several of them, and am making great progress. I want my guitar solos to phrase like Sax players because I am a huge fan of sax solos. Keep up the great lessons, Please. Thank you and God bless.
You and me are in the same boat lol.
My guitar teacher told me that guitar players look for inspiration in horn players and vice versa
Your example line could also make a great minor ii-V-i lick in concert Cm:
The first 3 notes as a pickup. The next 8 notes over Dm7(b5), and the next 8 over G7ALT. Resolving to Cm6 for that chromatic run down from G to Eb.
It's extra cool because once you get to the G7alt you have an upper structure triad happening (Ab minor over G7).
Cool idea!
Dude, I wish you were around when I was just getting into bebop! But these newer guys are so lucky to have this you, I will also be sending my students to your channel. I apologize in advance for my high school kids craziness! :)
hahah, thanks so much!
your playing has an excellent tone
Much appreciated. Thank you!
+Jeff Schneider
Any time!
you are an incredible teacher and person to offer all these lessons on UA-cam, I've learned so much on your videos alone!! Thank you!
+Mimi M Hi Mimi, I'm so happy to hear you are getting something out of these videos. Thanks for the comment, and thanks for watching!
Brilliant! I wish I had see this 25 years ago! You're amazing!!!
Ahhh been looking for something like this for so long, thank you! You and the examples make it really clear!
thanks. i really appreciate you explaining in Concert key.
+will segen My pleasure, Will. What instrument do you play?
+Jeff Schneider alto, and now working on tenor. fingering in concert key.
Awesome, sounds good!
nice reverb
Just bought the sheet and shedding now. Thanks Jeff! I'm going to try to make a system to capture all of the different ways to approach a chord tone, and which ones work best on which chord tones of each type of 7th chord, then practice all of them individually in all keys. Then it's time to mix and match!
could I request a video that you do? I think it would be really useful to learn ways to solo over ii-V-I's. mainly because they're so common, so knowing how to play over them and approach the chord tones in smoother ways would be very helpful.
"Now the next part.... What's the next part......... OH!" Haha I really enjoyed this video. I knew about chromatic embellishments but I didn't know it was such a fundamental part of bebop. Thanks a lot!
+imtiredoftakennames hahaha thanks for watching!
This is an insanely helpful video for every aspiring jazz musician
Thanks for the great, simple, and breakdowned imformation.
I'm a trainee jazz guitarist and just so sick and tired of listening to 'guitarists' pretending they can play jazz. I like your style of instruction - PLAY a bebop line FIRST and THEN talk about it and explain the thinking behind - Brilliant. None of the so called guitar 'experts' teach like you teach. Your style is much more effective.
Now I can look the pdf you've kindly posted and work out what your doing. I've already been learning upper/lower neighbors, enclosures, passing notest, escape tones etc, etc, etc. However, a good practical demonstration is ALWAYS more effective than a cold hard book. Thanks for sharing your knowledge. Even though I'm a guitarist, I'm going to start studying jazz with saxophonists - They REALLY know what they're doing unlike all the guitarists most of whom can't even read music....
Hi Simon, thanks for your comment! Glad you like my teaching style!
Amazing tutorial yes! Thank you man! Wonderful sound!
Just awesome! Thanks Jeff!!!
Killer lesson. I've been working on my timing, starting on the up beats, and chromatic passing note, but this made everything click. Arrange the approach so you're hitting the chord tone on the two and four, I don't know why that never occurred to me before. Swing mode engaged!
+ArchDukeOfTops Glad to hear it's making sense! Keep at it!
Very nice explanation of a cool Bebop Line.... well done! Thanks, Joe
+Joseph Miller Thanks, Joe!
Dude,you're phenomenal!Excellent work.
Subscribed.
Thanks so much, Tom!
Great stuff as usual. Thanks man.
Awesome! Thanks for this!
Very Helpful Thank you Jeff
Excellent and very helpful. I guess one can take any chord tone (I play alto) Cmaj7 etc etc and use whole and half steps and create these lines? Thanks mate.
Thank you Jeff!
Grazie Jeff!
i get it! I'am with you so far! ..great passion!
You're amazing!
Excellent video, Jeff, thank you. I am super familiar with all the theory; the big question for me is: do you have any recommendations as to how to systematically practice this? I find it hard to be disciplined if I'm just "playing around". Would you practice the lick you use in this video in all the keys, for example, and then swap out one enclosure for another? This is where I get overhwhelmed.......how to build one's vocabulary in an organized fashion. Thanks for any tips!
Very informative
Fantastic , man. Thanks
+daniel abreu Thank you, Daniel!
Hey Jeff! Great content. I was wondering how would you approach chord tones for measures that have two chords, like a 2-5-1 where the 2-5 is in one measure. Do you shorten the amount of notes to get to the chord tone like you did in your pdf? Or do you just approach one of the chords?
Great stuff! A rare find. I also like your anticipation video. Non chord tones and compositional techniques are where it's at. It is more of a continuation of classical theory than a jazz improv method. Jazz Scales led me astray for years. Thanks!
+Richard Johnson Thanks, Richard! I hear ya...scales can often be a burden if not used correctly.
Hey Jeff, your videos are very helpful in understanding how to start soloing. I play the lead sax in a big band and was wondering how much do you prepare your solos beforehand in a live set or do you just "let go". I perhaps succeed best writing my solos beforehand but naturally it has not the same feel as improvising live. Or should I try to develop my thinking in "half step below - then target - then whole step..." in a live set?
Next step is to use similar approaches for other voices I think, and try to place "odd" voices (such as a 9#, yep it can work!) on the beat sometimes instead of the obvious 5th/3rd/root. Seems like it actually comes down to building hidden harmonic cadences over a single chord and suggesting it by traditionnal approaches. Thinking Fm7-Bb7-EM7 on top of a EbM7 leads naturally to using F, Ab, C, D etc as pivot voices. Well that's just a little theory, but I'm sure there is always a nice implicit chord progression behind every awesome bebop lick. If a major chord lasts long enough, just build Coltrane changes over it and you'll sound killer (if context is appropriate).
+ExecutionSommaire Yes, yes, and yes! Check out Cannonball's solo on "So What." It's a modal tune (only two chords), but he throws down substitutions all over the place making it sound like a bebop tune.
Cannonball did whatever he felt like (mistakes there are none / a mistake can be a beginning). Maybe check Frandance (Newport album) and wow about that one. It's a trick of the mind to think you might make a mistake during an improvisation. I saw a clip where Herbie explained playing a 'wrong' note and Miles playing something to make it sound good. That is what music is all about. Great practise to play 'wrong notes' on purpose and make it sound good.
am a keyboard player and when i downloaded one of your videos (Must know jazz scale for improvisation), i thought i was downloading something amazing about jazz piano scales. i was a bit disappointed when i realised it a saxophone tutorial but hey, instead of shelving it i decided to watch it. Man i fell in love with your material and i decided to come back to your channel to check out more and download. I also told our saxo player in church to visit your channel. Keep up the good work man.
Thanks, Kennedy! By the way, the material in that guide can definitely be used for all instruments including keyboard. Please let me know if you have any questions!
+Jeff Schneider Definitely it benefits keyboard players too, I just realised... I downloaded more videos from your channel and I must say you are a very good teacher, a joy to listen to, and how I wish your videos were all longer than 10 minutes.
its all music
hi , thanks for your video , can you send me the note i do not get this , just the fist 2/3 arpeggio then i fill undestend , thanks
you, sir, are awesome.
+Jonathan burrito Many thanks, Jonathan!
thanks i leasrn a lot so much from you
Thanks!
I must commend you it’s really good
very useful information thanks
+D'Andre Gosey Glad you're diggin it. Thanks, D'Andre.
Great!
Very helpful lesson. The link to the PDF file seems to be broken. Can I find it somehwere else?
And one quick question: would you say that there is a limit to how you can approach a note? In the sense that the combinations of notes that lead to the note are limited, an then there´s the task of combining different target notes (like you do in the video)?
This is a good bebop formula for a beginner like me. Will certainly work on that. Thanks. Question: why do so many teachers advice beginners to practice scales? So far, I didn't see any practical results of them when improvising. Are scales more useful for intermediate/advanced students?
A-Ha!!!!!it makes Sense to me now⚡️💥✨
+Travis Moody Happy to hear it!
Thankss well explain 💪🏼🎷
+Melvin Rodriguez Thank YOU!
hi Jeff! the download link for the pdf doesn't work. u got an updated link? 🙂
i am a piano player from italy and i was asked to create phrases for different instruments, sax included. I have no idea what to write for it :( have you got any suggestion about it?
Is that vintage meyer mouthpiece that you are playing on?
Hey Jeff! Great lesson but i'm a bit confused on what beats the chord tones should land on in these enclosure based lines. I'm a guitar player and the notes are in my fingers but struggling to feel the timing. It seems to me they land on the weak beats where as i see a lot of people saying land your chord tones on strong beats. I'd really appreciate your thoughts.
I had the same issue as you, man. Check around 6:25. I didn't realize the first 3 notes were supposed to be a pickup. I transcribed this line and if you think of it the way we're thinking of, all the chord tones land on off beats. Consider the first 3 notes to be a pickup, and all our problems are solved!
Yes these 5 min lessons are great for my busy lifestyle....every time i tune in....i never leave with nothing new....choice. JS....and you will get the goods as far as Pizzas go when you and your wife are in Kaiks....will try and find a piano too.
Where can I get the pdf for this lesson. Fantastic lesson by the way. I'm a jazz guitarist trying to get into bebop. I like your phrasing.
+Ed H Thanks, Ed. Here's the link: bit.ly/1PDWAvl
I must say you're a great help!!! So the first thing to say is thank you!! If I may, I wish ask you a doubt I have.. This is a "descending" technique for approach notes, and if I play the same going up I don't know if it sounds so good like this. Is there a way to going up on the line that can be combined with this approach notes? Excuse my english, I hope you can understand my question. Thanks a lot!!!!!!
Thanks so much! Take a look at the guide linked in the video for additional examples. Good luck!
I can't find a pdf with examples as said in the video. Where is it?
great!!
+David Saldia Torres Thank you, David!
What if the improvised tune plays the chord tones on the weak beats?
What is your mouthpiece and reed size
One tip for guitar players for the line that starts a half step above the chord tone and then dips a whole step below: if you put your little finger on the note above the target note, the other three fingers line up perfectly in sequence (4-1-2-3) landing on the target. It kind of also works if you start with the fourth finger right on the chord tone (4-1-2-3-4).
so good
+liang ma Glad you like!
What do you charge for Skype lessons?
I was messed up when u are holding a Eb saxophone and describing concert key...
I'm probably gonna end up watching all your videos
haha enjoy!
This is really interesting. There is no way I could ever get good enough to do this in the next decade or so but it is just pure art to watch. Thank you.
+Frances Obolensky If you "approach" it that way....
+nicktardifbass7 har har
+Frances Obolensky You could totally do it! Start now, you'll be surprised!
I get that you're demonstrating the concept, but in the bebop style, I would not use two enclosures in succession like that. It almost sounds more like a funk line with that much chromaticism.
Hey, big Jeff... anything on how to sound interesting on a modal vamp?
+Music Teacher Guy Check out the One Chord Solo video, though I think you already did!
couldnt find the pdf :( someone have it?
Is the sheet music still available? The link goes to an error page.
It used to be to a PDF lesson that is no longer for sale. I have no idea why.
Was there anyone who tried playing the line faster than Jeff in the beginning or is it just me?
The notes don't add up... end of video has a diff lick scale degree than the beginning.
Otherwise, I liked how you explained how to play it. Great concept, just hard to follow all the way through while playing along.
What kind of reed do you play on?
+Sam Jay Hemke 3
Jeff, how can I improve my tone?
Check out my sax video playlist! ua-cam.com/play/PL2Uz66PZDfor_pfWBNongX0NSbbAS77S2.html
I think this is a great explanation but its hard for me to follow. Im a visual learner and there was no visuals to follow. I understand this is an old video and im 90% sure his videos have improvef since then, but this definitely shows its age.
The old-school bebop guys called playing chromatically above, then below, then landing on the target note "bracketing".
hey y"all check out Jerry Bergonzi's lessons too, he is the smoothest, and coolest cat.
I like Jazz and I like Bebop but once I started to learn about putting together a Bebop line I realized it's a boring science. I also realize that great Jazzmen didn't think arpeggio here, approach notes there, etc. There must be something that makes their lines sing. But what is it? Motivic development? I should be there but I hardly can see any motives in the Bebop lines. Perhaps the motivic ideas are there but one needs a good ear to spot them. They are of course not the strong motives we associate with the Romantic period but rather motives found in Baroque: they are more subtle and less obvious. How does it sound?
+VinniePaah Hi Vinnie, I'm not sure what your question is. Can you rephrase?
Jeff - if you see 'motivic development' in my "question" you've got it. The question is how it applies to Bebop in particular.
+VinniePaah Hi Vinnie, the motifs in bebop are definitely more disguised then in other types of jazz. Check out the head to Charlie Parker's "Confirmation" and try to find the themes that are developed within all those notes. Listen close and you'll find em!
Thanks for the idea, I'll check it.
the difference in sound quality between the sax and the voice is killing me.
3:40 you call a Bb an F. :/ You played Bb B D C....but called it different, why?
He's speaking concert pitch. So everything he plays is sounding a major 6th below what he is actually playing. When he plays a C that is written for alto sax, an Eb a major sixth below is what is actually coming out of the horn.
Thanks Greg, I eventually figured it out. He just makes it more difficult because he's holding an alto, so you'd naturally assume the notes he speaks are the notes he's playing. He should use some text on the screen.
Thanks for jumping in here, Gregory.
Glad you figured it out. Sorry, I know it's a bit confusing for non-concert key instruments, but on the bright side you'll be great at transposing soon enough, which is also an important skill!
Thanks Jeff! I pray I can catch on soon!
You're one crazy cat
haha thanks John
I understood this video but it was extremely confusing
Sounding like a B & H commercial
As a guitarist, fuck these extensive chromatic lines man I only got so many fingers
JEFF , just write the melodic line on the paper to show us it at the finish of this video .................
hahah next time
NEXT TIME i'll write it myself and i will send it to you ................ ))))))))))))))))))))
Waaay too much reverb
I'm not following the logic here. You give no explanation as to why we are starting on the 5th, or the third for example, and the pattern doesn't seem to be consistent.
the ides is to hit any chord tone with approach notes, it doesn't matter in which order you choose them
The runs are built around the notes in that chord triad he mentioned in the beginning. The "first" of the triad, or "root note"; then the "third", the "fifth", and then adding the "major seventh" to the triad. And playing notes leading up or down to those note as 'filler' notes in the run. Put it on paper - - it's easier to visualise that way.